Les Routes Millénaires — Thousand-Year-Old Roads

Routes levantines ou chemins de l’esprit, nous les sillonnons sans répit au risque de nous y croiser, frères ennemis, mais compagnons d’infortune d’un pays au bord de l’oubli.

This is a story in French about my home country Lebanon. Bon courage et bonne lecture chers amis.

Photo by Dorsa Masghati on Unsplash

Des routes six fois millénaires, chemins du hasard qui mènent vers des destinations improbables. Et sur ces routes nous marchons, pour marcher, sans autre but que celui de partir vers l’avant, pour paraphraser Baudelaire:

Mais les vrais voyageurs sont ceux-là seuls qui partent
Pour partir; cœurs légers, semblables aux ballons,
De leur fatalité jamais ils ne s’écartent,
Et, sans savoir pourquoi, disent toujours: Allons!

Routes levantines ou chemins de l’esprit, bitumes poussiéreux ou expériences de pensée, nous les sillonnons sans répit, au risque de nous y croiser, frères ennemis, compagnons de route néanmoins, d’infortune sûrement, d’un pays au bord de l’oubli.

Et je te poserai ces deux questions qui reviennent invariablement dans les conversations qui naissent entre deux inconnus qui se croisent sur ces routes.

من بيت مين؟
من وين؟

D’où viens-tu?
Quel est ton nom?

Ta fierté dépassera ta méfiance, tu me diras tout: ton nom de famille, ton village d’origine, me livrant par là-même ta religion, ta confession, ces identifiants sociaux et mêmes politiques sur lesquels repose le cœur de nos identité meurtrières, si bien décrites par Amine Maalouf.

Et alors, je me souviendrai. Je me souviendrai que vous nous avez pourchassés comme des chiens, que vous avez occupé nos maisons, brulé nos sanctuaires, massacré nos pères, assassiné nos femmes et nos enfants, que vous vous êtes tournés vers l’Extérieur pour mieux nous trahir et détruire Notre Pays pour le remplacer par le Vôtre.

Sur le point de me fermer à la conversation pour mieux te haïr, je me souviendrai aussi que nous vous avons fait de même.

Je me souviendrai que ce qui nous sépare n’est qu’un miroir dans lequel ce que nous portons en nous de ressentiment stérile et de noirceur se reflète pour mieux nous aveugler.

Je me souviendrai que vous avez pleuré vos morts durant quarante jours de deuil, ceux-là mêmes durant lesquels nous avons pleuré les nôtres, quarante jours de deuil qui transcendent les religions, quarante jours où les nôtres et les vôtres auront été Un dans la douleur et les larmes qui les séparent de leurs morts.

Je me souviendrai, et te dévisageant, je devinerai tes souvenirs. Je verrai dans tes yeux ce que tu vois dans les miens, ce reflet de méfiance, de souffrance, de deuil et d’incompréhension, et au delà, un soupçon d’espoir, celui d’avoir une conversation agréable avec un compatriote.

Alors, nous nous essaierons sans doute à ce jeu immémorial qui consiste à nous trouver des amis, des connaissances communes, des parentés supposées lointaines mais O plus proches que soupçonné, voire, des lieux dont nos mémoires se souviennent de la même manière, des plats qui nous rappellent ce qui reste de beau dans ce pays au bord de l’oubli. Nous nous raconterons nos vies, nos souvenirs peut-être, nos exils surement, nos échecs aussi, nos enfances et celles de nos enfants.

Et jusqu’au prochain carrefour, nous nous raconterons nos aspirations pour ce pauvre pays auquel nous croyons toujours, et nous nous quitterons à la croisée des chemins, meilleurs amis du monde, ou simples connaissances de passage, mais nous aurons laissé un Liban un peu plus beau à la fin de ce périple commun.

Let the board sound

Rabih

The Most Dangerous Roads

Take a leap of faith and buckle your seatbelts

Photo by Robin Pierre on Unsplash

Driving on the most dangerous roads in the world.

Not because of the road itself, but because of the people. My people, who have lost all hope in life and do not expect much from their small country on the verge of oblivion, save for more trouble and even less hope.

They are not driving, they are wandering. They are not steering, they are sleepwalking. They do not follow directions, they have nowhere to go. And even if they had a place to look forward to, there are no directions to follow.

The folks around here are not living. They are just busy surviving. They are on the road, whether in a car on in their head, racing from one hassle to the next, waiting for luck, or fate, betting on the wrong horses, the wrong colors, the wrong hands more often than not, as always.

They just drive to escape the unescapable. They would drive until the tank is empty and they would keep on driving if they could. Alas, gas is out of reach now. You see, in this country, you need to keep moving, you do not have the luxury to stop on the side of the road and rest. You only stop to fade away…

The lines above were inspired to me a couple of days ago, while driving on the roads of my home country, Lebanon. It still is a beautiful country, despite its shortcomings, and people on the road are beautiful as always and crazier than ever. You just have to ride the wave, swim with the flock, cross your fingers and trust that you will make it home somehow.

Oh, and buckle your seatbelt of course!

Let the board sound

Rabih

Thou shalt dump daily excrements

Quantity is enough. Follow the quick buck.

Photo by Bakhrom Tursunov on Unsplash

Brothers.
Sisters.
Fellow souls in this valley of tears we call Writing.
I read to you from an apocryphal gospel according to the self-proclaimed prophets of the Ancient and Accepted Rite of Writing.

Thou shalt dump daily excrements on the flock of readers for they are not worth the time you could be spending to produce quality articles. Quantity is enough. Follow the quick buck.

According to these false prophets, writers are in essence business hunters who must produce as many low quality articles as humanly possible, as fast as possible, hunting for more reading time and more dollars.

Now here’s the truth, according to the gospel of your inner guts, because yes, you already know what I am about to tell you.

You don’t write because you have something to say. Everyone has something to say, anyone can dump excrements. It takes more than that to write stories which can speak, which can sing.

Writing stems from an incurable itch, an unquenchable thirst, a void impossible to fill. You write because the itch is unbearable, the thirst is too potent. Because the void is too terrifying to contemplate.

As for the readers, well, they read for the same reasons compelling you to write: to quench the thirst, to fill the void. If your writing does not quench thirst, it is worthless at best, or rather smelly vomit more often than not.

The false prophets dumping worthless stuff on the masses and measuring success by the buck can only amount to what they write. They are not writers. They are dumpsters. They only know how to dump off the shelf fertilizer.

Mind you, dear reader, dumping can indeed generate quick bucks.

Only writing remains though.

Let the board sound

Rabih

The Anvil and The Hammer of Self-Righteousness

Last thoughts of a rotten soul

Photo by Immo Wegmann on Unsplash

Remember the inner compass? The one pointing you to the right direction and which you are supposed to follow?

Well sometimes, it is a bloody Anvil!

Can you swim through the meanders of life with one tied to your ankles? I thought I could. I tried. I drowned…

Salvation dawned on me while on my way to the abysmal depths of an ocean of despair, dragged down by the sacred anvil of Conscience.

All I needed was a hammer.

A hammer for those who dare to rise against the evens and the odds. Those who challenge the events and the gods. A hammer to pummel the wicked against the Anvil, this sacred compass of the soul.

The Anvil of the Righteous I already had, tied to my ankles, dragging me to my destiny. The Hammer of Righteousness I needed to wield.

And for the hammer I went. And to the wicked I took the hammer. And boy did I pummel through the scum of the earth.

The Others came first. Those who spoke a different language. Who followed a different faith. Who were born in a different place, or had a different skin color. The scum steeling our food, our jobs, defiling our way of life.

Then came those who were no longer productive but still feeding on the live forces. The elderly, the sick, the disabled. The parasites.

Then came the poor, reveling in their poverty, the rich, exploiting the poor. The tyrant, crushing the people. The people, rebelling against order. The men, all but rapists of mothers and daughters. The women, all but temptresses of fathers and husbands. As for the children, well, they had had their turn earlier, with the parasites.

I then took the hammer to people of faith, all but bigots, sons of bigotry. And then to the atheists and unbelievers, for reveling in their ungodly beliefs. I went after the sinners, and then after the saints, I trampled those who stood on my way and chased those hiding to their graves.

They all had to die, and I hammered them all. I hammered them down to nothingness, drunken by the scent of blood and the taste of righteousness. I was invincible.

I was so full of my righteousness that I did not see it coming. A blinding flash of cold blue steel, cutting right through me. My conscience slowly slips into the void, as the sword of justice rips my flesh apart. The souls I hammered are coming back at me. Their curse is too heavy. Their curse is the real Anvil…

I was adamant I would be welcomed in Valhalla, the resting place of the righteous warriors, but all I can see is the pitch black hole in my rotten soul.

And the Anvil is still dragging me down to abysmal depth, this incorruptible compass still pointing down below, to nothingness.

Let the board sound

Rabih

The Summers of our Childhood — Les Etés de Notre Enfance

Images and impressions on a piano improvisation by Elie Maalouf — Images et impressions sur une improvisation d’Elie Maalouf au piano

Listen to this Summer improvisation on piano. Let it take you places. Here’s where it took me. In English and in French, because why not?

Elie Maalouf, Summer Impro!

A languid question, one that awaits an answer, slow to come. And then, an anxious lover who wants to know.

Is it true? Say it is not so! Tell me! Tell me… Is it true that you’re leaving? Is it true that you’re staying?

And the answer, the one he wishes to hear, which oscillates between the quiet happiness of a summer evening in the Levant and the torpor of an August afternoon.

This is the story that I hear playing out on the ivory and ebony keys, these are the characters and the moods that I glimpse between the notes, and which, through an eighth, a modulation or a silence, meet, dispute, discuss, or hold their peace.

And leave us dreamy and nostalgic of the summers of our childhood.

Thank you Elie

. . . .

Une question languissante, une interrogation qui attend une réponse qui tarde à venir.

Et ensuite, un amoureux anxieux, qui veut savoir. Est-ce vrai? Dis-moi! Dis-moi… Est-ce vrai que tu pars? Est-ce vrai que tu restes? Et la réponse qu’il veut bien entendre, qui oscille entre le bonheur tranquille d’un soir d’été au Levant et la torpeur d’un après-midi d’Août.

C’est l’histoire que j’entends jouer sur les touches d’ivoire et d’ébène, ce sont les personnages et les états d’âme que j’entrevois entre les notes, qui d’une croche, d’une modulation, d’un soupir, se croisent, se décroisent, se parlent, se taisent.

Et nous laissent rêveurs et nostalgiques des étés de notre enfance.

Merci Elie

Let the board sound

Rabih